For most of the history of film-making, music has played an integral role serving many functions - such as conveying emotion, heightening tension, and influencing interpretation and inferences about events and characters. More recently, with the enormous growth of the gaming industry and the Internet, a new role for music has emerged. However, all of these applications of music depend on complex mental processes which are being identified through research on human
participants in multimedia contexts. The Psychology of Music in Multimedia is the first book dedicated to this fascinating topic. The Psychology of Music in Multimedia presents a
wide range of scientific research on the psychological processes involved in the integration of sound and image when engaging with film, television, video, interactive games, and computer interfaces. Collectively, the rich chapters in this edited volume represent a comprehensive treatment of the existing research on the multimedia experience, with the aim of disseminating the current knowledge base and inspiring future scholarship. The focus on empirical research and the strong psychological
framework make this book an exceptional and distinctive contribution to the field. The international collection of contributors represents eight countries and a broad range of disciplines including
psychology, musicology, neuroscience, media studies, film, and communications. Each chapter includes a comprehensive review of the topic and, where appropriate, identifies models that can be empirically tested. Part One presents contrasting theoretical approaches from cognitive psychology, philosophy, semiotics, communication, musicology, and neuroscience. Part Two reviews research on the structural aspects of music and multimedia, while Part Three focuses on research
examining the influence of music on perceived meaning in the multimedia experience. Part Four explores empirical findings in a variety of real-world applications of music in multimedia including
entertainment and educational media for children, video and computer games, television and online advertising, and auditory displays of information. Finally, the closing chapter in Part Five identifies emerging themes and points to the value of broadening the scope of research to encompass multisensory, multidisciplinary, and cross-cultural perspectives to advance our understanding of the role of music in multimedia. This is a valuable book for those in the fields of
music psychology and musicology, as well as film and media studies.
For most of the history of film-making, music has played an integral role serving many functions - such as conveying emotion, heightening tension, and influencing interpretation and inferences about events and characters. More recently, with the enormous growth of the gaming industry and the Internet, a new role for music has emerged. However, all of these applications of music depend on complex mental processes which are being identified through research on human
participants in multimedia contexts. The Psychology of Music in Multimedia is the first book dedicated to this fascinating topic. The Psychology of Music in Multimedia presents a
wide range of scientific research on the psychological processes involved in the integration of sound and image when engaging with film, television, video, interactive games, and computer interfaces. Collectively, the rich chapters in this edited volume represent a comprehensive treatment of the existing research on the multimedia experience, with the aim of disseminating the current knowledge base and inspiring future scholarship. The focus on empirical research and the strong psychological
framework make this book an exceptional and distinctive contribution to the field. The international collection of contributors represents eight countries and a broad range of disciplines including
psychology, musicology, neuroscience, media studies, film, and communications. Each chapter includes a comprehensive review of the topic and, where appropriate, identifies models that can be empirically tested. Part One presents contrasting theoretical approaches from cognitive psychology, philosophy, semiotics, communication, musicology, and neuroscience. Part Two reviews research on the structural aspects of music and multimedia, while Part Three focuses on research
examining the influence of music on perceived meaning in the multimedia experience. Part Four explores empirical findings in a variety of real-world applications of music in multimedia including
entertainment and educational media for children, video and computer games, television and online advertising, and auditory displays of information. Finally, the closing chapter in Part Five identifies emerging themes and points to the value of broadening the scope of research to encompass multisensory, multidisciplinary, and cross-cultural perspectives to advance our understanding of the role of music in multimedia. This is a valuable book for those in the fields of
music psychology and musicology, as well as film and media studies.
Nicholas Cook: Foreword
1: Annabel J. Cohen, Scott D. Lipscomb, Siu-Lan Tan, & Roger A.
Kendall: Introduction: The psychology of music in multimedia
Part I. Models and Multidisciplinary Perspectives
2: Annabel J. Cohen: Congruence-Association Model of music and
multimedia: Origin and evolution
3: Roger A. Kendall and Scott D. Lipscomb: Experimental semiotics
applied to visual, sound, and musical structures
4: Mark Shevy: Integrating media effects research and music
psychology
5: David Bashwiner: Musical analysis for multimedia: A view from
music theory
6: Lars Kuchinke, Hermann Kappelhoff, & Stefan Koelsch: Music and
emotion in narrative films: A neuroscientific perspective
Part II. Cross-modal Relations in Multimedia
7: Shin-ichiro Iwamiya: Perceived congruence between auditory and
visual elements in multimedia
8: Zohar Eitan: How pitch and loudness shape musical space and
motion
9: Scott D. Lipscomb: Cross-modal alignment of accent structures in
multimedia
Part III. Interpretation and Meaning
10: Marilyn G. Boltz: Music videos and visual influences on music
perception and appreciation: Should you want your MTV?
11: Berthold Hoeckner and Howard C. Nusbaum: Music and memory in
film and other multimedia: The Casablanca effect
Part IV. Applications: Music and Sound in Multimedia
12: Sandra L. Calvert: Children's media: The role of music and
audio features
13: Mark Grimshaw, Siu-Lan Tan, & Scott D. Lipscomb: Playing with
sound: The role of music and sound effects in gaming
14: Mark Shevy & Kineta Hung: Music in television advertising and
other persuasive media
15: Agnieszka Roginska: Auditory icons, earcons, and displays:
Information and expression through sound
16: Mark Kerins: Understanding the impact of surround sound in
multimedia
Part V. Future Research Directions
17: Siu-Lan Tan, Annabel J. Cohen, Scott D. Lipscomb, & Roger A.
Kendall: Future research directions for music and sound in
multimedia
Siu-Lan Tan is Associate Professor of Psychology at Kalamazoo
College in Michigan USA. Born in Indonesia and raised in Hong Kong,
she holds diplomas from the Associated Board of the Royal Schools
of Music (England) and degrees in Music and Piano Pedagogy, and
taught music in Hong Kong and California for many years before
completing a PhD in Psychology at Georgetown University USA and a
term on scholarship at Oxford University in England. Tan's research
on video
games and virtual reality games has been published in the Journal
of Applied Developmental Psychology, International Journal of
Gaming and Computer-Mediated Simulations, Interacting with Video
(Praeger
1996), and Interdisciplinary Advancements in Gaming, Simulations
and Virtual Environments (IGI 2012). Her research on film music and
other topics has appeared in Music Perception, Psychology of Music,
Psychomusicology: Music, Mind, & Brain, and College Music
Symposium. Annabel J. Cohen is Professor of Psychology at the
University of Prince Edward Island in Canada. Her doctorate is from
Queen's University, B.A from McGill, and Associate diploma (ARCT)
from the Royal Conservatory of
Music, Toronto. She has dedicated her career to the study of music
perception and cognition, with extensions to multimedia. She has
published on the topics as tonality, music transposition, the
acquisition of
music grammar, and film music, from a cognitive perspective. She
has led multi-institutional research projects focusing on
harnessing multimedia for education in the context of culture and
cognition. On that foundation, she currently directs a major
international collaborative research initiative (AIRS - Advancing
Interdisciplinary Research in Singing). Cohen is the Editor of
Psychomusicology: Music, Mind, & Brain and serves on the consulting
boards of several journals (e.g., Music and
the Moving Image, Musicae Scientiae, Music Perception, Psychology
of Music, The Soundtrack). Scott D. Lipscomb is Associate Professor
and Division Head of Music Education and Music Therapy and
Associate
Director for the School of Music at the University of Minnesota -
Twin Cities, USA. In addition to his primary research interest in
"sound for multimedia," he is currently pursuing investigations
related to surround sound presentation of cinema and musical sound,
the effect of music in video game contexts, the impact of visual
performance information on listener preference for "complex" music,
integration of music across the K-12 curriculum, and the
development of interactive instructional
media to enhance the music learning experience. Lipscomb served two
three-year terms as Treasurer for the Society for Music Perception
and Cognition, four two-year terms as President of the
Association
for Technology in Music Instruction (ATMI), and serves as a member
of the Executive Board and as Chair of the Research Committee for
TI:ME (Technology Institute for Music Educators). Roger A. Kendall
is a Professor in the Department of Ethnomusicology at the
University of California, Los Angeles, USA in the specialization of
Systematic Musicology. He co-authored an invited chapter on music
perception and cognition for the Ecological Psychology volume of
the Handbook on Perception, as well as
a chapter on comparative music psychology for Psychology of Music
(D. Deutsch, Ed. 2nd edition). His current research interests
include comparative perceptual and acoustical analyses of natural
versus
synthetic and sampled orchestral timbres and spectra, tuning models
and perception of the slendro mode in the Gamelan, expressive music
performance modelled in terms of communication theory, and
perception of meaning in film music. Kendall co-edited Perspectives
in Systematic Musicology in Selected Reports in Ethnomusicology,
Volume 12 and contributed a chapter outlining connections of
experimental empirical research in meaning to visual and musical
elements.
The Psychology of Music in Multimedia marks a critical turning
point in re-envisioning the established methods for analyzing music
and moving image within multimedia. Grounded in the burgeoning
empirical research of leading scholars in psychology and music
perception, scientific approaches are merged with analytical
modalities of musicology, music technology, and film studies.
Consequently, the synergy between these comprehensive, analytical
approaches leads to more inclusive and corroborative results. The
authors provide an exemplary blueprint for critical inquiry,
gearing the concerted efforts of diverse scholars toward
interdisciplinary and broad-based analytical strategies.
*Ronald Sadoff, Associate Professor and Director, Scoring for Film
and Multimedia, NYU Steinhardt, USA*
This well-edited, laid out, and contextualized collection of essays
prov` Ronald Sadoff, Associate Professor and Director, Scoring for
Film and Multimedia, NYU Steinhardt, USA. Composer for acclaimed
films, including 2006 Academy Award-winning 'The Moon and The Son:
An Imagined Conversation.'cross modal perception, and,
specifically, perception of audio-visual composites... The book's
contributors and editors represent a 'who's who' in the area and
their work provides rigorous substance to the ever-growing
realization that the presence of an image changes what we 'hear'
and the presence of a sound changes what we 'see.' A must-have
resource for experts, students, and practitioners of the topic
alike!
*Pantelis Vassilakis, Associate Professor and Chair, Audio Arts and
Acoustics Department, Columbia College Chicago, USA*
This cutting-edge collection of essays highlights new perspectives,
research, and ideas about how music impacts many different kinds of
media-from film to video games to television advertisements. Any
serious media scholar will want this volume as part of their
library.
*James C. Kaufman Professor of Psychology University of
Connecticut, USA Founding Editor, Psychology of Popular Media
Culture*
The Psychology of Music in Multimedia presents a fascinating
introduction to the many psychology-based approaches towards
understanding our relationship to media. The authors tackle diverse
areas relating to sound in TV, software, film and games to show the
impact that sound and music has on multimedia, suggesting that
sound is an overlooked and influential force for emotional and
engaging experiences. By juxtaposing chapters from different areas
of media and psychological research, the editors draw parallels
between different media forms that will enlighten and delight the
reader, as we find similarities and distinctions that help to
elucidate the role that sound plays in our everyday lives.
*Karen Collins, Canada Research Chair in Interactive Audio at the
University of Waterloo, Canada*
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